Input is a new extensive type series designed for code and other texts less ordinary. David Jonathan Ross was looking for fonts better-suited to his programming needs: unambiguous letterforms, clear punctuation, large word spaces for fast skimming, and more options … Continue reading →

Font Bureau’s Giza series brings back the colorful power and variety of the original Egyptian letterforms of the Victorian era. Designer David Berlow based the family on showings in Vincent Figgins’ specimen of 1845, the triumphant introduction of this thunderous … Continue reading →

Brando by Mike Abbink is a new contemporary serif exploring the balance between mechanical and egyptian forms. It was originally inspired by a bank logotype proposal, then subsequently developed into the robust typeface it is today. The light styles of Brando assume the … Continue reading →

The Parkinson display family was designed in 1976 by Jim Parkinson for Rolling Stone magazine. Roger Black, back then its art director, was looking for an edgy, idiosyncratic style and found Parkinson to be the right lettering artist for this assignment … Continue reading →

Custer RE is a new typeface by David Berlow in Font Bureau’s Reading Edge series of fonts especially designed for small sizes on screen. In 2009, an architecture book from 1897 in the library of the University of Wisconsin caught David … Continue reading →

Big, bigger, Miller Banner. Matthew Carter’s grandest member of the Miller series is meant for the largest display applications of ultimate grandeur, taking the Scotch Roman genre to new heights and beyond any examples among its historic antecedents. Hairlines have been sharpened and … Continue reading →

The design of the Heron series started when Joe Heroun, Art Director of Men’s Health, commissioned a new headline face for the magazine. In response, Cyrus Highsmith drew a compact, straight-sided sans-serif with taut flattened curves inspired by industrial, machine-made … Continue reading →

Font Bureau’s Farnham is a lively transitional serif series that adds personality to editorial text and display applications. Christian Schwartz based his design on the work of German-born punchcutter Johann Fleischmann, a contemporary of Baskerville and Fournier. He was an expert … Continue reading →